One can’t help but smile at Daniel Dezeuze’s “Objets de cueillette”(Gathering Objects), 1992–95. Delicate, gently bowed branches or stalks of bamboo adorned with brightly colored bulbs and funnels and bits of mesh, and displayed leaning against the gallery walls, these improvised forms with found objects suggest fantastical fishing poles or butterfly nets. Clustered at the midpoint of this brilliantly selected and beautifully installed retrospectivethe artist’s first comprehensive showing since a 2009 survey at the Musée Fabre in Montpellier, Francethey offered a witty send-up of the idea of art as a lure or a trap. That they also suggest outsize surrogates for the paintbrush is surely part of the point.

In France, where he has long been a major figure, Dezeuze remains indelibly linked to Supports/-Sur-faces, the now-legendary collective he helped found in 1970, which